But in the twilight, with a ruby fire glowing on the hearth, a large crimson Turkey rug before it, and a semi-circle of empty wooden chairs ranged round, it struck a note of comfort and homeliness very welcome after our wanderings through rooms given over to ghosts. Not that those same ghosts did not lurk here too. The empty wooden chairs with their stiff, outstretched arms, had a suggestion of waiting for a company other than the black-robed pensioners who, apparently, were fonder of their own bed-sitting-rooms than this ancient apartment with its monkish associations.
But the guide was waiting for us: there is no time allowed for dreaming in these places. One must do that afterwards at home, and I sometimes think, Agatha, that more even than my enjoyment in the actual visits to these old scenes, is the pleasure of talking to you about them in these letters.
A solitary gas lamp was flickering here and there in the cloisters when we came outside, and we found the sparrows and starlings still continuing their concert with indefatigable energy. As they flew round and round the trees it was difficult to distinguish between birds and falling leaves. The dusk was peopled with both.
The proximity to St. Bartholomew's suggested a visit, and we walked a few yards down Aldersgate Street and from thence into Cloth Fair. Of the original Cloth Fair there is very little left now. On every side you see empty spaces where, not many years ago, had been tortuous streets and courts of ancient houses that must have witnessed the reign of many a king and queen—houses that stood there long before the Christian martyrs were burnt at Smithfield, and first plague, then fire, ravaged the city. Could they have told their terrible secrets those ancient dwellings might have recounted stories as terrorising as the most blood-curdling of nightmares.
A BIT OF OLD SMITHFIELD.
Of the particular row of houses which had always appealed to me by reason of their contiguity to the churchyard, part of one only remains. Many a time have I stood and stared at the dingy backs of those unwholesome dwellings, wondering what it must feel like to live in a room with a discoloured tombstone peeping in at the window. Familiarity, one imagines, would breed contempt, but there would be times during sleepless nights, or in some hour of depression, when the horrid nearness of that sooty churchyard, with its mouldering bodies under the rank grass and refuse, would foster the evil imaginations of madness.
However, the houses, and many of their like, have gone now, and Cloth Fair and Little Britain, with the exception of little bits here and there such as in East Passage, make space for business premises and warehouses. In the midst of it all stands St. Bartholomew the Great, a thing of mutilated limbs—witness the scars on portions of its walls where its members have been dissevered, and where in their place mundane buildings have crowded up to within a few yards of it. Yet there it stands, in dignified aloofness from the intrusive neighbours who nudge its elbows with irreverent and familiar touch. They may rub shoulders with it at every point, but between them and it is no more intimacy than there is between Rahere, its founder, and the sight-seer who, gazing at his tomb, learns the story of his conversion from jester to monk. The strange story of a vision of St. Bartholomew, in which the Saint, with a practical regard to detail, ordered Rahere to build a church in Smithfield, a behest the noble fulfilment of which is made evident in the old walls that have weathered so many centuries, and the Hospital next door.
St. Bartholomew's is one of those buildings which has, like some people, to be known to be loved. At first one is almost repelled by its austere and dignified beauty. It is unapproachable with the unapproachableness of the great. It is dim, too, with the pathetic dimness of a lonely old age, and one's sense of reverence is violated when one learns that the Lady Chapel was at one time tenanted by a fringe manufacturer, and the north transept used as a blacksmith's forge.
But the age of vandalism is past, and within the old walls law and order are restored. The ring of the blacksmith's hammer has given place to the solemn notes of the organ, the blaze of the forge fire to the soft light of altar candles. The fret and hurry of life no more cross the threshold, and you can meditate undisturbed.